
Who Kissed Barbara? 



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9 



Who Kissed Barbara? 

A Farce in One Act 



By 

FRANZ and LILLIAN RICKABY 



NOTICE 

This play is published for free performance by amateurs only. 
Professional companies are forbidden the use of it in any form 
or under any title, without the consent of the author, who may 
be addressed in care of the publishers. 




BOSTON 

WALTER H. BAKER COMPANY 

1 92 1 



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Who Kissed Barbara? 



CHARACTERS 

(In the order of their appearance.} 

Barbara Nicols, the bridesmaid. (Petite, lithe, impulsive, and 
distractingly pretty. Would much rather win a bet than 
lose it.) 

Katherine Blake, the bride. (Paul's sister. Slightly older than 
Barbara, but not too much ; also slightly taller. Ordinarily a 
very sane and sensible person, but hardly to be held responsible 
under present conditions. ) 

James, the butler. (Not quite so pompous as we usually ntake but- 
lers, but plenty at that! He does not have side-burns, though 
for the sake of the argument he does wear a dress suit. He has 
been with the B lakes so long that he can express himself rather 
freely, but also so long; that he takes a great deal from them, es- 
pecially the young fry.) 

Paul Blake, the best man. (Katherine s brother. Blonde, boyish, 
susceptible ; keen for a joke, always enthusiastic over that which 
impresses him ; witty at times, though frequently not so until 
some time after the opportunity to be so has gone ; distinctly 
eligible. He appears in a dress suit. He is also cultivating a 
modest little mustache, so tiny and light in color that it might 
easily escape detection altogether, ) 

Horace Gregory, the groom. (Practical, efficient, but deeply in 
love just the same. He is to Paul what Katherine is to Barbara. 
He also appears in a dress suit, and it so happens that he, Paul, 
and James could wear the same dress suit, though of course 
they don I.) 




Copyright, 1921, by Walter H. Baker Company. 



JUL 2771 

©CI.Q '5825 



Who Kissed Barbara? 



SCENE. — The drawing-room in a wealthy suburban 
home. It is spring. Some time after dinner, the 
evening before the wedding. 

{The curtain rises on the drawing-room of the Blake 
home, in darkness except for the semi-glow of the 
coals in a large fireplace at l., and such light as 
enters from a heavily curtained door on r., evidently 
from another room. Before the fireplace one can 
see the outlines of a large and comfortable daven- 
port and a tall floor-lamp hovering over it from 
behind. On the other side of the room, outlined in 
the same way, are a large library table and a deep 
leather-upholstered chair. Fidl light would reveal 
another large chair near the table on the farther 
side, another curtained door at the back and numer- 
ous bookcases, chairs, pictures, etc. There is invit- 
ing comfort in every detail.) 

Barbara {outside, r.). Katherine, have you seen that 
piece of paper I had before dinner — the one Horace and 
I were laughing at ? I can't find it anywhere. 

Katherine {also outside, but evidently in a different 
room). No, dear, I haven't seen anything of it. — But 
come here a minute and tell me which of these negligees 
to keep. 

Barb, {evidently moving about): In a moment. But 
I've got to find that paper first. 

Kath. Why is it so important? Have you looked in 
the drawing-room? You were in there just before din- 
ner. 



4 WHO KISSED BARBARA t 

Barb. I'll bet that's where it is. 

(We see Barbara enter through the lighted doorway 
and grope her zvay carefully across the room tozvard 
the floor-lamp. Suddenly the figure of a man is 
dimly outlined in the doorway at the rear. He 
silently overtakes the girl on her way to the lamp. 
There is the sound of a boisterous kiss. The girl 
screams. The man exclaims "Damn!" and escapes 
through the rear door. By the light of the lamp, 
which Barbara flashes on as soon as she can reach 
it, she sees only the flying coat-tails of a dress-suited 
man. Barbara rushes to the rear door and looks 
down the hall in the direction taken by the assailant, 
then turns back into the room, dabs at her lips with 
her handkerchief, glares back at the door as though 
it were in part responsible, then stamps to the daven- 
port and throws herself down on it, burying her 
head in the pillows, registering all the while the 
anger derived largely from its own helplessness.) 

Kath. {entering from r.). For heaven's sake, Bar- 
bara, what made you scream like that? You frightened 

me to (Sees Barbara and goes anxiously to her.) 

Why, Bob, dear, what has happened? Are you crying? 

Barb, (sitting up suddenly and dabbing at her eyes). 
Yes, I — No, I'm not ! (Stands up and flounces across 
the room.) I'm perfectly furious. I never was so mad 
in my life. It's simply outrageous. And he did it on 
purpose (Throws herself into the easy chair and wails) 
just so I'd lose my bet! I hate him! And if it wasn't 
for you I wouldn't be bridesmaid at his d-darned old 
wedding. 

Kath. (aghast, goes toward Barbara). Barbara, 
what are you talking about? (Gives her a little shake.) 
What has happened ? And what do you mean about my 
wedding? 

Barb, (looking up). Katherine, I think Horace 
Gregory is a nasty, horrid thing; and I don't think you 
ought to marry him. He's not to be trusted. 

Katit. (anxiously). Barbara, please, please tell me 



WHO KISSED BARBARA ? 5 

what has happened. You worry me to death. What 
makes you talk so? Why don't you like Horace? 

Barb. I tell you he is not to be trusted — in anything. 

Kath. {strangely close to tears). But why? Why? 
What has he done? {More angrily.) Barbara, you've 
got to tell me what happened. 

Barb, {rises and crosses back to the davenport, rather 
nervously, perhaps). I don't know how. 

Kath. {drops into the chair that Barbara has just 
left). Don't know how? Barbara Nicols, you're the 
most exasperating woman I ever knew. Why can't you 
tell me ? 

Barb. Well — I — I just can't. I — I — they — some- 
body — Horace 

(Breaks off and buries her head in the pillows, kicking 
viciously against the davenport with a free foot.) 

Kath. Well, I — they — somebody — Horace did what ? 
Barb, {raises her head to wail). Kissed me ! 

(And buries her head again.) 

Kath. {vaguely, hardly knowing whether to be re- 
lieved or not). Kissed you? Kissed you! Are you — 
are you sure it was Horace? {Puzzled.) How did it 
happen ? 

Barb, {rises again from her pillows). He did it just 
to make me lose my wager, and I think it's the meanest, 
dirtiest, most ungentlemanly thing I ever heard of. 
Especially since I made the wager with him! {Petu- 
lantly.) He's a tight- wad, a cheat, and I hate him ! 

Kath. {has come over and sat down beside Barbara). 
Bob, I simply insist on an explanation, right from the 
beginning. And first of all, what is the wager you're 
talking about ? 

Barb. Well, if you must know. First of all, I was 
silly enough to tell Horace Gregory that I had never been 
kissed 

Kath. {politely surprised). Never been kissed! 
Why, what do you mean ? 

Barb. Just what I say. In all my life, — that is, after 



6 WHO KISSED BARBARA ? 

I was old enough to have anything to say about it and 
up until about ten minutes ago, no man had ever kissed 
me. (Begins to lose what calmness she has regained.) 

Kath. Well, go on. Do be sensible now. What has 
that to do with the wager? 

Barb. When I was talking to Horace this afternoon, 
I told him about it, and about the vow too that I made 
on my sixteenth birthday 

Kath. {whose eagerness, seemingly well in hand, steps 
ahead of her). What was that? 

Barb, {coolly). Now Katherine, dear, I can talk only 
so fast. — The vow was that I would never, never let 
a man kiss me, except the man I was to marry; and 
of course, any one can see that if he happened to be a — 
that sort of a man, there'd be no preventing it in that 
case. {A slight pause, each girl with her own thoughts.) 

Kath. {slowly). And the wager, I suppose, was that 
you 

Barb. No use supposing. That's just what it was. 
When I told Horace all this, he shrieked and howled 
and thought that my aversion to kissing was quite the 
most humorous thing he had ever heard. At first he 
wouldn't believe me, but after I had convinced him 

Kath. {uneasily). Convinced him? 

Barb. He wanted to make a wager with me that I 
would be kissed before he was a married man. I told 
him, not unless I got engaged too. I felt so absolutely 
sure of winning that I made him write it down. {Turns 
and faces Katherine directly.) Why, I knew he'd be a 
married man in twenty-four hours, and I didn't see how 
any one could possibly appear, get himself in love with 
me, and me with him, and kiss me, all in twenty-four 
hours. And now — and now — {Evidences of rising tem- 
perature, and the handkerchief suggests tears) the 
wager's lost, and my vow broken. {Angrily.) I never 
thought he'd cheat ! I didn't have him specify my — my 
fiance on the paper. I wish I had. — Where is it, any- 
way? {Rises and looks for the paper, on the mantel and 
around the davenport. Katherine sits looking thought- 
fully into the fire. Barbara finds the paper on the 



WHO KISSED BARBARA ? J 

table.) Oh, here it is. (Returns quickly to Katherine 
holding it out to her.) Here it is. Look. 

Kath. (takes the wager, looks at the signatures first, 
as is her prerogative, but says only). Foolishness! 

(As she apparently begins reading it.) 

Barb. Read it aloud, Katherine. I haven't any idea 
how things like that sound. (Struck by a happy thought.) 
There may be an error in it somewhere too ! 

Kath. (reads). " Here followeth a wager between 
Horace Gregory, party of the first part, and Barbara 
Nicols, party of the second part. The party of the first 
part wagereth that the party of the second part will be 
kissed by a man before the party of the first part will 
have entered the ancient and honorable state of matri- 
mony, that bourne from which no sensible man returneth. 
Which wager the party of the second part doth duly 
accept. The losing party to this wager shall furnish 
forth a dinner for twelve at Le Blanc's, the winning party 
to set the time, appoint the menu, and choose the guests. 
Horace Gregory — Barbara Nicols." 

Barb, (slowly). I don't see any flaws in it — any legal 
ones, that is. If I had only made him write " By her 
fiance " instead of " by a man " ! That was the spirit of 
it anyway, and he's taken a mean advantage, that's what 
he has. The very idea of his kissing me himself rather 
than lose the wager ! 

Kath. (defending her stronghold bravely). But Bar- 
bara, dear, are you sure it was Horace ? It certainly 
doesn't sound like him. I don't believe he'd do a thing 
like that. He isn't that sort. I think I know him much 
better than you do, and cheating or otherwise taking 
advantage of any one is utterly beneath him. — He's the 
man I'm going to marry to-morrow morning, and my 
faith in him is not easily shaken. 

Barb, (significantly). I'm glad it isn't. 

Kath. Barbara, darling, can't you take my word for 
it that he didn't do this — this 

Barb, (mischievously). Dastardly deed? Will that 
do? 



8 WHO KISSED BARBARA ? 

(Barbara quite naturally can hardly help feasting her- 
self on Katherine's uneasiness, which grows in the 
face of a most stubborn resistance.) 

Kath. (convincing herself). I just know you're — 
there's been a mistake in it somewhere. What makes 
you so sure it was he ? 

Barb. Who else could it be? 

Kath. But didn't you see him? The light? 

Barb. Yes, I did get the light on finally. But the 
room was dark when he — when it happened. 

Kath. (relieved). Then, silly, how do you know it 
was Horace? 

Barb, (exasperated). Katherine, who else could it 
possibly have been? Consider: (Business of pointing 
out each element of the demonstration very definitely.) 
There's the wager ; here am I, temptation : to yield means 
winning the wager; to withstand means losing it He 
yielded, as you or I or any one else might have done. 
That's all there is to it. — Besides, if it wasn't Horace, 
who could it possibly have been ? 

Kath. (quietly). James. 

Barb. ( terror-stricken) . James ! James ! ! James ! ! ! 
A butler — kiss me? (Dazed at the possibility.) Why, 
Katherine, I'd rather think it was Horace ! 

Kath. You flatter Horace, dear. And anyway, re- 
member, Bob, that our chief obligation is to find out 
who's guilty, not to consult your preference. 

Barb, (thoroughly frightened). Oh, Katherine ! 

Kath. And why not James? There in the dark he 
might easily have mistaken you for one of the maids and 
simply stolen a kiss in passing. Such a thing is entirely 
possible, it seems to me. 

Barb. Oh, no, Katherine ! How perfectly terrible ! 

(Slight pause. Barbara unconsciously rubs her lips 
with her handkerchief.) 

Kath. (relents somezvhat. Having solved the enigma 
to her ozvn satisfaction, she is at perfect ease, and in this 
position is disposed to pity Barbara). Was there any- 



WHO KISSED BARBARA ? 9 

thing about him, dear, that made you think it was Horace 
especially ? 

Barb, {very meek, all assurance gone). I couldn't get 
the light on soon enough, Katherine. I didn't get any- 
thing but a glimpse of him as he flew out the hall door 
there. He was in full dress, and that's why I thought it 
was Horace. I never thought — I forgot that James 

(Dangerously near tears.) 

Kath. A dress suit, Bob ? Well, that's something to 
start on — even if it doesn't get us anywhere. Wasn't 
there anything else ? 

Barb. No-o. — Oh, Katherine, there was too! His 
breath smelled terribly of peppermint. He had just 
been eating opera sticks, I'm sure. And {hopefully) 
James wouldn't likely be making away with them so 
soon after dinner, would he? 

Kath. {feels the dart of this possibility, but stops the 
wound). You don't know James like I do, Bob. — But 
is peppermint all ? Didn't he say anything? 

Barb. He didn't have a chance to {Startled 

pause.) Katherine, he did too! When I screamed, he 
said " Damn ! " 

Kath. {shocked). Barbara, are you sure? 

Barb. Absolutely. 

Kath. {quickly). But Horace's voice — you know it. 
Was it his ? 

Barb, {trying to recall). The voice? Oh, Katherine, 
if I could only remember! It wasn't a voice at all; it 
was just an exclamation of — of — anger, or surprise, or 
something. 

Kath. {victorious again, but not vaunting). But 
Barbara, why would Horace be surprised or angry if he 
had intentionally waylaid you to win his wager? 

Barb, {innocently) . Why, he wouldn't be, would he? 
And — and James would, wouldn't he, Katherine! 

(Rises and crosses nervously to the easy chair.) 

Kath. Well, that doesn't give us a great deal, does 
it? But it's better than nothing at all. Let's see, dress 



10 WHO KISSED BARBARA ? 

suit, peppermint, and — and " Damn ! " (More to herself 
than to Barbara.) I'm sure Horace never swears. 

Barb, (assertively). But, Katherine, I'll not have it 
so. Everything in reason points to Horace: the wager 
and all. James' making that mistake at this particular 
time would have to be an almost unheard-of coincidence, 
now, wouldn't it? 

Kath. (thoughtfully). Yes, it would. I think we 
ought to see who's at the bottom of this. 

Barb, (vanquished by her own thought). But, Kath- 
erine, if it should turn out to be James ! It would be 
perfectly awful ! Do let's let it go. I'll pay the wager 
and show old Horace Gregory 

Kath. But Bob 

Barb, (determined). — that I'm a real sport anyway. 

Kath. (also determined). No, my dear. There's a 
principle involved. It's not so much the fact that he — 
that some one kissed you, though that is quite enough; 
but you see, I've got to justify my faith in Horace and 
his sportsmanship. — Dear, whatever it costs, we've just 
got to find out who kissed you. 

Barb, (wildly). But think how I'd feel if it were 
James ! 

Kath. (archly). And I if it were Horace. (Then 
as though throwing off the burden in the name of friend- 
ship.) But cheer up, dear; it may be the man of your 
early vow. You never can 

Barb. But how could it be? What men are there 
around here now except Horace and — James? Your 
father's in the city, and your brother hasn't come yet — 
{hopefully) has he? 

Kath. No, he hasn't. He's always late too. And 
I'm so afraid he'll be late to-morrow. Wouldn't that 
be awful? Paul's never on time anywhere or for any- 
thing. I don't think he ever made a train in his life. — 
But you'll like him, Bob. He's a dear. I do hope he 
gets here in time to-morrow for you to meet him before 
we go to the church. It would be like him to come 
tearing down the aisle just before the benediction. — But 
we aren't solving this mystery. How shall we go about it ? 



WHO KISSED BARBARA? II 

Barb. I don't care much how we go about it. But 
oh, if it isn't Horace 

Kath. But dear, I feel — I know that it wasn't. 

Barb, (decisively) . Well, let's just send for him and 
not let him suspect anything, but just let things happen, 
and I'll wager — no, I won't. I always lose. But I'm 
sure we'll find that he was the man. 

Kath. (firmly). And I'm just as sure, dear 

James (appears at the c. entrance). Beg pardon, Miss 
Katherine, but Mr. Paul has just arrived and asks me to 
tell you that he will be down immediately. 

Kath. (as both girls rise hastily). Paul! How re- 
markable ! But tell Mr. Gregory, will you, James ? You 
will find him in the garden, I think. 

James. Yes, Miss Katherine. [Exit James. 

(Katherine sits at the right end of the davenport 
Barbara sits at her feet on a heavy hassock or foot- 
stool which she drags from beneath the davenport, 
and leans her arms and head in Katherine's lap.) 

Kath. I'm so relieved, Bob dear. How fine of him 
to come to-night. And I do hope you'll like him. But 
there, I know you will. 

Barb, (uncertainly). Yes, I know I shall. But I 
wish he had come sooner. Things might have been dif- 
ferent then — mightn't they? 

Kath. (pensively, stroking Barbara's hair). Yes, 
Bob, they might. 

Paul (enters c, in evening dress). Hello, Sis! Am 
I early enough this time ? 

Kath. (rises and goes to him. They meet c. stage). 

You're a dear. How did you ever (Kisses him. 

As she does so, she is apparently startled by something. 
Draws back, her hands still on his shoulders; then leans 
closer again. Exclaims.) Peppermint! (Barbara 
starts, and grasps the davenport, to the left end of which 
she has withdrawn. Slight pause. Katherine collects 
herself first, and smiling confidently at Barbara, speaks.) 
Oh, Paul, I want you to meet Barbara — Barbara Nicols, 
you remember, my bridesmaid. (Paul starts smilingly 



12 WHO KISSED BARBARA ? 

and energetically toward Barbara, who has risen. He 
prepares to extend his hand to her as he rounds the right 
end of the davenport, but, with his eyes fixed on Bar- 
bara, he does not see the footstool, over which he 
stumbles and falls headlong at the girl's feet. As he 
sprawls, the girls both hear, low but unmistakable, 
"Damn!" He is on his feet in an instant, but inex- 
pressibly embarrassed, he sinks weakly into the daven- 
port at the far right end. At the sound of the magic 
word, both Catherine and Barbara start and look at 
each other, Katherine somewhat triumphant again, 
Barbara plainly confused.) Paul ! ! 

(Barbara gazes at him a moment as though fascinated, 
then collapses to the davenport at the extreme right 
end.) 

Horace {enters briskly, r. entrance. Goes to Paul). 
Well, well, old boy, but I'm glad to see you! (Paul 
rises weakly to shake hands, then subsides again.) Fve 
been having visions all day of a best-man-less wedding 
to-morrow. Fd be sure to lose the ring, or {looking at 
Barbara) put it on the wrong girl. 

Kath. {with a little grimace at this sally, comes be- 
hind the davenport, well toward Barbara). But Paul, 
how on earth do you happen to be here at this hour? I 
thought the Van Lynn theatre party was to-night. 

Paul {looks straight ahead and talks dazedly). It 
was, but I left right after dinner. When the others went 
to the theatre they dropped me at the station. That's 
why I've got on my " soup-and-fish. ,, {Indicates his 
dress-suit.) I vowed Fd be on time once in my life, and 
make that " once " your wedding. {Doggedly.) Might 
have been better if Fd been a little late instead, I guess. 

(Horace meanwhile takes out his cigarette case and 
removes a cigarette. Turns to go over to the easy 
chair, tapping the cigarette on the closed case. Bar- 
bara draws Katherine's attention, indicating by 
vigorous sign language that Horace must not be 
allowed to smoke a scent-destroying cigarette. 



WHO KISSED BARBARA f 13 

Katherine catches on, and overtaking Horace, 
takes gentle hold of the cigarette, removing it from 
his hand.) 

Kath. {coaxingly). Horace — are you that nervous? 

Horace (a little surprised). Why, dear, I haven't 
smoked since dinner. And really, you know, I'm not a 
bit nervous; not a particle. (Katherine hangs on his 
arm, sniffing every time she finds an opportunity, or can 
make one.) I think you're the nervous one. 

Kath. I nervous? Not a bit. {Leads him to the 
easy chair.) Gome on; you sit down here and calm 
yourself. {Pushes him into the chair. During this Bar- 
bara and Paul sit at their respective ends of the daven- 
port, stealing curious glances at each other occasionally, 
one or two of which collide. Barbara finally turns away 
and begins drumming the end of the davenport with the 
fingers of one hand. Paul, still incapacitated by his re- 
cent experience, fusses with his collar, vest, etc. As 
Katherine pushes Horace into the easy chair she gives 
a big sniff and exclaims tragically. ) Peppermint ! ! 

(Barbara springs to her feet with an I-told-you-so 
expression. ) 

Paul {grimly). Those were her remarks about me 
too, old man. 

Kath. {in confusion, sinking into a chair). Well 

Barb, {with finality). Well. 

Paul {interrogatively) . Well? 

Horace {impatiently). Well — I don't see — I told you 
I hadn't smoked since dinner, and the last thing I ate 
was an opera stick. It seems to have been a peppermint 
one. Now what's remarkable about that? 

Kath. {dazed; more enthralled by the phenomenon 
itself than by the explanation of it). But — and Paul 

Paul {with a slight shrug of his shoulders, as though 
there weren't enough foolishness in the world already). 
Those infernal Van Lynns are always up to something 
funny. To-night they had onions fixed up to look like 
those frozen rose things, and we all ate a lot before it 



14 WHO KISSED BARBARA ? 

dawned on us what was the matter. I didn't want to 
come here smelling like a Yiddish bakery, so I ate about 
a package of life-savers on the way here. They must 
have been peppermint ones, though I didn't notice at the 
time. 

Horace {exasperated). Well, if peppermint affects 
beautiful women this way, let's have James bring in the 
rest of the opera sticks, and we'll all eat a clove one. {He 
rings for James as he speaks. James appears at the c. 
entrance.) Bring in the dish of opera sticks that were 
left from supper, James. 

James {turning). Yes, sir. 

Kath. And James 

James. Yes, Miss Katherine? 

Kath. Will you bring some iced grape juice too, 
please ? 

James. Yes, Miss Katherine. [Exit. 

(Katherine very coolly ignores Horace. Barbara 
ignores both men. The air is clearly charged with 
something icy already. Horace, trying to appear 
unconcerned, takes out a cigarette again, and carries 
the opened case to Paul, who nervously takes one. 
They both start to light up when Horace catches 
sight of Katherine's face and remembers.) 

Horace {penitentially). Oh, Katherine — I forgot. 
I'm sorry. {Puts cigarette back in the case, as he goes 
toward the table. Paul is about to light his when he 
suspects that perhaps he too ought not to smoke just now. 
After some pantomime of uncertainty, he gives up and 
lays the cigarette carefidly on the arm of the davenport. 
Horace, at the table.) I guess I am a little nervous — or 
something. {Straightens shoulders.) Oh, well, I guess 
if there's any time in a fellow's life that he has a right 
to get nervous, to-night's that time. 

Kath. {very cool). Indeed! And what about the 
woman? {Significantly.) She has a great deal more at 
stake ; and you see, / am not nervous in the least. 

(She sits very straight and stiff to prove the fact. 



WHO KISSED BARBARA ? 15 

Nervous? Of course she isn't; no one ever saw a 
nervous iceberg! To her assertion both men reply 
together, very ingratiatingly.) 

Paul. ) Of course 



,5 



Horace, j Certainly not. 

Paul {alone). — not. 

Kath. (witheringly) . Now you needn't both be idiots ! 

Horace. ) Of course 

Paul. ) Certainly not. 
Horace (alone). — not. 

(Katherine is plainly disgusted. Barbara conceals 
her momentary amusement only with difficulty. The 
men rage inwardly at their helplessness. James 
enters, c, with a tray holding a decanter of grape 
juice, glasses with ice, and a dish of opera sticks. 
He stops c. stage, as Katherine rises and goes to- 
ward him to take the opera sticks. She suddenly 
looks closely as though at something in one of the 
glasses. Barbara rises also and comes around the 
rear of the davenport to where Katherine and 
James stand.) 

Kath. (severely). James, what is that? 

James (is distinctly startled. He gives a quick em- 
barrassed little cough which he dutifully averts with one 
hand which he disengages from the tray, and leans over 
the tray anxiously). Where, Miss Katherine? 

(But the little cough, diverted from the tray and 
Katherine, unfortunately reaches Barbara, who 
starts back in horror and dismay, then runs to 
Katherine.) 

Barb. Oh, Catherine ! Peppermint ! ! 

(She buries her head on Katherine's shoulder. Paul 
and Horace look at each other in blank despair.) 

James (a very fountain of apologetic sympathy) . Yes, 
Miss Katherine, I'm sorry, but I believe they are all pep- 



l6 WHO KISSED BARBARA ? 

permint flavor. I'll be glad to send out and get some 
of the others for Miss Barbara if 

Kath. {thoroughly angry for Barbara's sake). 
James ! ! 

Jajvies {recoils a step, and by every criterion silently 
declares himself guilty of something or other). Y-yes, 
Miss Kath 

Kath. (Barbara stands apart, her face hidden in her 
hands). How dare you take such liberties in the house 
of your employer? We expect servants to take a good 
deal that isn't theirs; but that kind of theft will not be 
tolerated. 

James {abjectly). But Miss Katherine, I was all 
through in the dining-room, and just happened to be 
passing the 

Kath. You were, at all events, distinctly out of your 
place. My father shall hear of this unmentionable action 
of yours immediately. 

James. But Miss Katherine, I thought you were 

Kath. {inexpressibly haughty). Unfortunately, it was 
not I. 

James. I — I took only one, Miss Katherine. Any of 
the others might have taken 

(Barbara sobs visibly and audibly. Katherine turns 
from James in supreme disgust.) 

Kath. I think that will be all. Put the tray on the 
table, please. 

Jajmes {does as he is told. Turns and goes toward c. 
door. In the door he turns with something of contempt, 
to say). Beg pardon, Miss Katherine, but I think this is 
pretty much of a stir to make over — over one opera stick. 

[Exit. 

(There is an eloquent pause. Barbara turns as 
though suddenly saved from the jaws of death.) 

Paul {dryly). I feel a little that way about it myself, 
Sis. 

Kath. {sitting). If that were only all! 



WHO KISSED BARBARA? 1 7 

(Barbara remains standing, silently miserable.) 

Horace (after a pause). Well, inasmuch as we have 
the grape juice, we might as well use it. (Rising.) And 
I seem to be the only one around here sane enough to 
pour it — or do anything else, for that matter, — without 
smelling peppermint. " (He pours out a glass. Takes it 
to Katherine who receives it without any recognition, 
and sits holding it absently. Returning to the table he 
pours another, for Barbara. He indicates that it is for 
her, and hands it tozvard her without turning, at the same 
time beginning to pour a third glass with his left hand. 
Barbara steps over toward him, slightly behind him, so 
that the offered glass is almost over his left shoulder. 
As he thinks Barbara has the glass, he lets go. Barbara 
does not have hold of it, and the juice is spilled on 
Horace's arm and shoulder.) Damn! 

(The word brings the girls sharply back to their 
problem.) 

Kath. (rises and goes quickly to the fireplace where 
she places her glass on the mantel). Oh! Horace! How 
could you ! And I trusted you so ! 

(Horace is plainly embarrassed, but angry as well; 
makes no reply.) 

Barb. Oh, Horace, I'm so sorry! (Turns toward 
Katherine.) Really, Katherine, it was all my fault. I 
should have been more careful. 

Kath. (freezes up). I'll have no double standard of 
morals in my home, if you please. 

Horace (stopping suddenly in his brushing). Double 
standard of morals ! Why, bless your souls, I'd not have 
it either. Morals! Why, dear, I've only acted as any 
man would act in such a circumstance, and as any woman 
might act for all I'd care. 

Kath. It's quite bad enough to have done the thing, 
Mr. Gregory, without boasting about it. 

Barb, (in her womanly concern over the spilled grape 
juice she has forgotten for a moment the issue of the 



l8 WHO KISSED BARBARA ? 

evening. Horace's and Katherine's last speeches re- 
call it. She becomes indignant at the thought of the 
wager). I suppose I should be concerned about the 
morals of it too; but what makes me furious is the bad 
sportsmanship, the actual cowardice of any one who 
would 

Horace. Would what? 

Kath. {firing). That's it. You would glorify your 
weakness by hearing its echo on the lips of one of its 
victims, I suppose? 

Barb. Modesty does not repeat such things. ( Horace 
falls into the easy chair in despair, head in hands. 
Barbara steps toward Paul. ) And do you think, Mr. — 
Mr. Blake, that you could undertake to drink a little 
grape juice without incriminating yourself? 

Paul (jumps to his feet, beaming). Thank the good 
Lord ! I thought you were never going to speak to me. 
I haven't had any kind of a chance to tell you how glad 
I am to meet you. 

(Puts out his hand, into which Barbara lays hers de- 
. murely. Paul, holding Barbara's hand, suddenly 
looks back at the footstool and kicks it viciously 
under the davenport. Releases her hand.) 

Barb, (pleasantly). I'm glad to meet you too, Mr. — 
Blake. I finally speak to you, I think, largely because 
you seem to be the only man present whose immediate 
past is clear, and in whose care the innocent are safe. 

Paul (bows elaborately). Many thanks, fair lady. 
Remember, however, that the dependability of the really 
honest man in such matters is assured by others more 
often than admitted by himself. 

Barb, (sweetly). Oh, do you mean that? 

Paul. I certainly do. I may even now be guilty of 
the deepest crimson crime 

Barb, (hastily, touching his sleeve lightly). Oh, no! 
Not the deepest one. You arrived too late for that. 

Paul (laughing). Too late? Has my cursed habit 
blessed me for once? And I thought I was early this, 
time! — Can't we be seated? 



WHO KISSED BARBARA? 19 

Barb. Of course. {They sit on the davenport, close 
together.) I want to ask you a question, — Mr. Blake. 

Paul. All right, just so it isn't one I can answer. I 
hate responsibility. — But first, since you and I are 
going to officiate at the (indicates Horace and Kath- 
erine) obsequies to-morrow — be sort of chief mourners, 
you know — don't you think we might use each other's 
first names to some advantage ? I'm Katherine's brother, 
and know, and you know her very well. And besides, 
the only reason we haven't known each other for years 
is that — we — just didn't come together that long ago. 

Barb, (much amused by his argument) . Your reason- 
ing is quite remarkable. 

Paul. Thanks, ever so much. Furthermore, I think 
Barbara is a beautiful name, far too beautiful to be made 
to wait on ceremony and conventionality; and as for 
Paul, — well, it's more quickly said than " Mr. Blake," and 
in this age of high speed and quick delivery, that is 
something. 

Barb. Yes; and I think too that people in affairs of 
this kind — weddings, I mean — somehow become ac- 
quainted more quickly than ordinarily, sometimes before 
they have really had an opportunity. Don't you think 
so? 

Paul (worshipfully) . I haven't the least doubt of it. 

Horace (raising his head from his hands). Especially 
true in the case of the bride and groom ! (At this pointed 
remark, Katherine leaves her place at the mantel, where 
she has been doing her best to look straight through 
Horace, and crosses wearily to the chair back of the 
table. As she does so, Horace rises and goes solicitously 
toward her.) Katherine dear, I think you should go to 
bed. You're all tired out. 

Kath. How dare you attempt to send me to bed, 
Horace Gregory! Oh, I have been so deluded. I 
wouldn't have believed it. 

Horace. What are you talking about? — My dear, 
you're simply a nervous wreck. Please go get some rest. 
(Sentimentally.) Remember, Sweetheart, to-morrow 

Kath. (angrily). Remember? Remember! I wish 



20 WHO KISSED BARBARA ? 

it wouldn't come. If only you would own up, confess, 
explain, apologize, be sorry, something 

Horace (quietly). But dear, why confess something 
we both know I'm guilty of in the 

Kath. (brokenly). So you did do it after all? 

Horace (still quietly). Of course I did, Sweetheart. 
Why deny it? Even if I could convince you otherwise, 
there is still Barbara, who is especially concerned. But 
why on earth has everything taken on such tragic im- 
portance to-night ? James with his opera stick, I and my 
meaningless little oath 

Kath. (coldly quiet). Not the oath so much as what 
it stands for. 

Horace. What it 



(Throws out his arms in despair, and drops again into 
the easy chair, his back toward Katherine.) 

Paul (confidentially). Something seems to be ter- 
ribly wrong here. (Turning to Katherine.) I say, Sis, 
aren't you being a little rough on some one? 

Barb, (tartly). Now if you are wise, you'll not waste 
any sympathy on Horace. 

Paul. Well, I'll say the Middle Ages had nothing 
on you two when it came to holding a man guilty until 
he was proved guilty — and then giving him no chance to 
prove anything. Tell me (indicating Horace with a 
backward nod of the head) what's he done? 

Barb. I'll never tell you. Though he probably will 
and you'll both laugh over it, as soon as you're alone. 

Paul. Laugh over it ! Over a funeral like this ? 

(Katherine, after her last speech, began fumbling 
with her engagement ring, finally slipping it off her 
finger. During Barbara's and Paul's last words 
she evidently dropped it to the floor.) 

Kath. (quietly, almost unconcernedly). Horace, ring 
for James, please. 

(All three turn inquiringly. Horace does as he is told. 
Only Paul speaks.) 



WHO KISSED BARBARA ? 21 

Paul. Poor James may be across the state line by 
this time. 

(Katherine withers him with a look just as James 
appears, very haughty, at the C. entrance.) 

Kath. James, I have dropped something. 

(Barbara and Paul rise hastily and start toward 
Katherine, who is searching busily about her 
chair.) 

Paul. Dropped something? 

Horace. What was it ? 

Barb. Was it anything valuable, Katherine? 

Kath. No — yes — I don't know ; but I didn't want to 
lose it — just this way. James, will you help find it, 
please ? 

James (coming forward). Yes, Miss Katherine. 
What shall I look for? 

Kath. (nervously). It was a Never mind; 

you'll know when you see it. (Business of general 
search.) It was very small, and it might have bounced 
almost anywhere — though it ought to be around this 
chair. — Horace, you please look over around the table 
there ; and Paul, you over there by the davenport. Bar- 
bara and James and I will look here. 

(Horace and Paul exchange looks and go to their 
respective places, Horace moving the easy chair and 
looking eagerly under the table, Paul rubbering 
about under and around the davenport, both men on 
hands and knees.) 

Paul (after a moment). For goodness' sake, Sis, you 
might tell us what it is. I may have found it and thrown 
it away three or four times by now. 

Horace (with finality). Well, whatever it was, it's 
quit being around here. 

(He rises, brushes himself, and sits down in his chair.) 

Paul (continuing the search). There's nothing here 



22 WHO KISSED BARBARA ? 

either, but Fm going on; that may be what she lost, for- 
all I know. She's given us such a vivid description of it ! 

(James is on his hands and knees to the left of Kath- 
erine's chair, feeling every inch of the carpet under 
and around it. Barbara, searching just as faithfully 
in front of it, steps squarely on one of James' 
groping fingers.) 

James {straightening up on his knees, and grasping the 
injured member tightly in his other hand). Damn! 

Barb, (as though stabbed with the telltale word). Oh! 
(Leans weakly against the back of the davenport, regard- 
ing Jakes with horror. Katherine goes quickly and 
kneels beside Horace's chair and draws him over to her. 
He puts his arm around her. Paul ceases his search, 
but remains on his knees as though fascinated by Bar- 
bara's terror.) James! What — what did you say? 

James. I'm most sorry, Miss Barbara; but the pain, 
you know. I forgot myself. I am very sorry. 

(He turns to leave, very ill at ease, still nursing his 
mashed finger. Barbara follows him with horror- 
stricken gaze.) 

Kath. (softly). Oh, Horace, how could I have 
doubted you ? 

James (turning in the doorway). Pardon me, Miss 
Katherine, but shall I send a maid in to look for the — er 
— the lost article ? 

Kath. (suddenly remembers the loss, and stands ex- 
citedly). Why, yes, of course — I mean, no. I — I do 
not think it is lost any longer. 

James (meaningly, with a curt bow). That is my 
opinion also, Miss Katherine. [Exit. 

Barb, (wailing). How awful! Oh, how terrible! 
James ! James, a butler ! 

(She stands near the right end of the davenport, a 
forlorn picture.) 

Paul (gets to his feet near the left end of the daven- 



WHO KISSED BARBARA ? 23 

port). Why, little bridesmaid, you make me feel 
wretched. If a mere butler swearing has made such an 
effect on you, think how I feel when I remember that 
that was the first word I ever said to you, here at your 
feet. 

Barb, {suddenly lifts her head, as though struggling 
with a thought. Then the light breaks). Why — you did 
say — that too, didn't you ? And so did you, Horace ! 
Katherine ! Do you realize what has happened ? 

Kath. {absent-mindedly, looking furtively around the 
floor). Yes, dear. 

Barb. Katherine, wake up ! Don't you know that they 
all smelled of peppermint, and all said — that? Where 
have we gotten to? 

Kath. {wearily coming back to Horace's side). No- 
where, Bob ; and worse than nowhere. 

Horace {noting the weariness in her voice takes her 
hand). How, dear? 

Kath. Nowhere because what was at first a mystery 
is still a mystery ; and worse than nowhere because — I've 
lost something that I 

(Her voice trembles and she does not go on.) 

Barb, {all sympathy). Oh, Katherine! 

Horace {rising). Sweetheart, I want to help you, but 
it's all mystery. Everything this night has been mysteri- 
ous 

Paul {looking steadily at Barbara). Mystery's no 
name for it. 

Barb. But Katherine, let's look again, real carefully. 

Paul {planting himself firmly in front of the fireplace, 
hands behind him). I look for nothing more until I can 
at least call it by name. 

Barb, {turns full upon him and smiles). It might be 
under the davenport — Paul. 

{Whereupon Paul succumbs and renews his hunt, 
much to Horace's amusement.) 

Kath. It's no use. I'm certain now that James told 



24 WHO KISSED BARBARA ? 

the truth when he said it was his opinion that the article 
was not lost any longer. 

(Paul rises and stands again at the fireplace.) 

Horace. But you said so yourself, dear. 
Kath. I did, because I was sure — he found it, just 
as I am that he has it now. 

Paul. Poor Jim ! Pie's in bad again. 

(A look from Barbara puts Paul in his proper place.) 

Kath. Horace, dear, HI have to tell you what it was, 
for we must get it back. It was my — our diamond — our 
engagement ring. 

Barb. Your ring, Katherine ! 

Paul. Why, Sis ! 

(Horace takes Katherine, seats her gently in the 
easy chair, and stands at her left, holding her hand.) 

[ Kath. (tearfxdly) . I was toying with it, and dropped 
it. It must have rolled a little bit, for I couldn't see it. — 
I didn't want you — and Paul — to know. I — I — oh, 
Horace, what shall we do? 

Paul {stirring himself valiantly). Til go out and 
hale him into court, Sis. I thought there was something 
crooked looking about that fellow the first time I saw 
him. [Exit, c, in haste. 

(Barbara, not knowing what else to do, looks about 
on the floor.) 

Kath. (pleading). Be angry with me, Horace. No 
matter what happened, I had no right to lose our — our 
ring. 

Horace (gently), I could never be angry with you, 
my own. Did it mean so much, then ? 

Kath. (looking at her hand in his). It is so awful to 
be without it, Horace ! And to have lost it so childishly, 
so uselessly 

Horace (stealing the ring back on the third finger of 
the hand he holds). Yours again, Sweetheart. 



WHO KISSED BARBARA ? 25 

Kath. Horace! The ring? Why — how — where 



Look, Bob! James hasn't it after all! (With a deep 
sigh.) Oh, Horace dear, I'm so glad! 

Horace. You were right, dearie. It did bounce and 
roll. I found it here by the table-leg. (Teasingly.) 
But, of course, not knowing what you had lost. 

Paul (enters hastily, heavily under the influence of 
excitement, his hat and coat half on). He's not in the 
house ! The fellow's gone ! Said he'd stepped out to get 
some opera sticks. — C'mon, Harry, stir yourself. — Bar- 
bara, you 'phone the station. We'll go down the street. 
He can't have gone far ! 

Barb, (takes Paul gently by the arm, as though to 
soothe him, and leads him to the davenport and pushes 
him into it, where he sits foolishly). No, not far, Paul. 
And he'll be back in a moment. You wait for him there. 

(She stands behind him.) 

Paul (looks about dazedly, sees the tranquillity over 
in the easy chair, and notes the diamond flashing on 
Katherine's hand. He collapses). Oh Lord! This 
place is haunted. 

Barb. Especially when the lights are out. 

(Paul glances quickly at her.) 

Kath. (suddenly, taking Horace's hand in both of 
hers). But it wasn't you, was it, Horace? 

Horace. What wasn't me, dear? Let's have the 
mystery. 

Kath. Well, it is a mystery, Horace, and we've been 
Sherlock Holmsing to — to 

Barb, (slowly, pointedly, looking straight at Horace). 
— to find what kind of a villain it is that cheats, that 

resorts to the infamous ways of darkness We were 

searching for a criminal that I loathe ! 

(Stamps her foot.) 

Paul. I'm glad you're not looking at me now! 
Barb. Silly ! I might have been looking at you, but 



26 WHO KISSED BARBARA ? 

(sweetly) you were too late. (Then haughtily, to 
Horace.) However, I shall insist on paying my forfeit, 
and I shall insist that you invite my — your best man for 
me. 

Horace. But Barbara 

Paul (eagerly, to Barbara). Invite me I don't know 
what to, but 1*11 risk it. Do you mean it ? 

Barb. Here's my hand on it. (Paul takes her ex- 
tended hand, then, with his left hand on his breast, and a 
mock-heroic bow, leans over and kisses it, much longer 
than was at all necessary. — Suddenly the coquettish smile 
leaves Barbara's face. She is puzzled; tries to remem- 
ber. She pulls her hand away, and Paul straightens up. 
Barbara'^ face suddenly lightens.) Oh, Katherine, it 
wasn't Horace! It wasn't James! (Turns accusingly 
on Paul, pointing at him.) It was you! 

Kath. Why, Bob, how could it be 

Barb, (almost dancing). I don't care whether it could 
or not, or how it could. There were cyclones of pepper- 
mint, and torrents of " damns," but there was only one — 
mustache ! Paul Blake, it was you ! 

Paul (meekly). Yes; I was it. (Looking dozmt.) I 
can explain. (He walks over in front of the fireplace.) 

Horace (to Paul). So it was you, eh? Still a mys- 
tery. Now if somebody will kindly explain these occult 
consignments of peppermint and calamity, the day will 
be won. 

Horace. One at a time, please. 

(Paul stands watching Barbara, waiting to know his 
fate.) 

Barb. It's all on account of our wager, Horace. I 
thought you did it so I'd have to pay for the dinner. 

Horace. The wager? What Oh, our wager. 

Well ? 

Barb, (looks down). Well, you see — I've lost it. 

Horace. You lost — (He grows more and more boister- 
ous in his amusement as the light breaks) the wager? 



WHO KISSED BARBARA ? 27 

And Paul here — ho ! ho ! ho ! — did he ? And inside 

of twenty-four hours! Ha! ha! ha! That's too good 
to keep. 

Kath. She insisted that it was you, Horace; but I 
couldn't believe you'd do such a thing. Would you? I 
thought it was James. 

Horace. James ? Ye gods ! That's worse yet. 

(Goes into a paroxysm of delight.) 

Paul (puzzled). Wager? What's the wager? 

Horace (eagerly). Why, Barbara here has — I mean 
had never been 

Barb, (tartly). Never you mind, smarty. I can tell 
it. And under the circumstances I'll pay the forfeit 
gladly. (Paul is elated, though he doesn't know ex- 
actly why.) Anybody but James! 

(Paul is crestfallen. Barbara watches him slyly.) 

Paul (seriously, looking up). But let me explain, 
Miss — (At a look from her) Barbara. As you know, I 
cut the theatre party and got here on the first train out, 
which explains my getting here so much earlier than you 
and Katherine thought I would. I came in quietly, 
merely telling James that I was going to surprise every- 
body. When I got in the hall I heard voices, and so 
looked in here. I saw a girlish figure which I mistook 
for Katherine. I didn't know it wasn't she until — until 
you shrieked in my ear. That flabbergasted me so com- 
pletely that I vanished just as fast as I could, to sort of 
compose myself. Then I had James announce me, just 
to establish my innocence. — (Mischievously.) It was a 
most thrilling experience. And I hope I'm forgiven, a 
little bit? (Holds out his hand.) 

Barb, (putting her hand in his). Yes, a little bit; 
because if it was you, it couldn't be James. I would 
rather it were anybody than James. 

(Horace and Katherine hold a whispered consulta- 
tion during this speech.) 



28 WHO KISSED BARBARA ? 

Paul (retaining the hand). You can't burn me up, 
little bridesmaid ; so don't waste time trying it. 

James (comes to the c. entrance. He has a small 
white bandage on his injured finger). Beg pardon, 
Miss Katherine, but I have gotten some more opera 
sticks, if Miss Barbara would care for any now. 

Barb, (in a tone of voice that indicates willingness to 
fall on his neck). Oh, that was so kind of you, James. 
Thank you, awfully. 

Kath. (infinitely gracious). But we're just stepping 
out for a stroll in the garden, James. Might we have 
some hot chocolate in the library in half an hour, and 
(smiling) your opera sticks? 

James (with his usual slight bozv). Yes, Miss Kath- 
erifle. (Turns to leave.) 

Barb, (uncertainly). Oh, — James. 

James. Yes, Miss Barbara? 

Barb. I just wanted to say that — that — you have just 
helped us run to earth a very wicked villain. 

James (slight bow). I am glad to have been of the 
least service to you, Miss Barbara. 

(Again turns to leave.) 

Kath. And James 

James (turns back patiently). Yes, Miss Katherine? 

Kath. I feel that I should tell you that the article for 
which we were hunting a few minutes ago has been 
found. I thought it might — relieve you — to know. 

James (slight bow). Thank you, Miss Katherine. I 
knew it would be safe. I saw Mr. Gregory pick it up. 

[Exit, with the victory 

Paul (after a pause). Well, I guess nobody around 
here is much of a hero ! 

Horace (laughingly, as he rises). Except you. 
(Barbara silently seconds him.) But let's go out for a 
look at our patron saint, the old moon. He's waiting 
for us. 

Paul. You'll see, though, there'll be peppermint on 
his breath; and if he says a word, it'll be 

(Barbara claps her hand over his mouth.) 



WHO KISSED BARBARA ? 29 

Barb, (in mock severity). No more villains, please! 

Horace (as he and Katherine walk, arm-in-arm, 
toward the c. entrance). No odds, let him say it. Some 
villains are lucky. [Exeunt. 

Paul (suddenly stopping). But Barbara, what was 
the question? 

Barb, (puzzled). The question? What question? 

Paul (sternly). As we sat on that davenport those 
ages ago, and I persuaded you that first names were best, 
you said you wanted to ask me a question. 

Barb, (remembering). Oh, yes! (Laughs.) But I 
really wouldn't need to ask it now. 

Paul (disappointed). Not? 

Barb. No. (Seriously.) I'll tell you. I was going 
to ask you why you wore a mustache — like that. (Deep 
sigh of extreme relief. ) But I'm glad now you had it ! 

Paul. Yes. (Feels his mustache tenderly with the 
fingers of his left hand.) Fm very proud of it. (Bar- 
bara has gone toward the floor-lamp, and reaches for the 
switch.) And I wore it, if for no other reason, that it 
might be known (the light goes out) who kissed Barbara. 

(The room is in the same semi-light as at first. Paul 
takes Barbara's hand and draws her arm through 
his, and together they walk toward the c. entrance, 
very much absorbed in each other, and certainly 
happy.) 



SLOW CURTAIN 



OLD DAYS IN DIXIE 

A Comedy-Drama in Three Acts 

By Walter Ben Hare 

Five males, eight females. Scene, a single interior. Costumes of the 
period. Plays two hours and a quarter. Beverly Bonfoey, a high type 
of Southern gentleman, loves Azalea, his mother's ward, but Raoul 
Chaudet, a Canadian adventurer, to whom he has given the hospitality of 
Bonfoey, steals her love. Forced to leave suddenly because of crooked 
money transactions, he persuades her to elope, but this is prevented by a 
wonderfully dramatic device. Beverly then challenges Raoul, who shows 
the white feather and runs away, and Beverly, to save the family honor, 
assumes the consequences of his swindling transactions. The untying of 
this knot is the plot of a strong play with a genuine Southern atmosphere 
written wholly from the Southern point of view. Royalty, $ I o.oo for the 
first and $5.00 for subsequent performances by the same cast. 

Price, 33 cents 

CHARACTERS 
The Prologue, the Goddess of the South. 
Madame Bonfoey, mistress of the plantation. 
Azalea, her ward. 
Nancy, Azalea s sister. 

Cousin Sallie Sellers, from a neighboring estate. 
Phoebe, a little coquette. 
Mary Rose, Phoebe s sister. 
Mam' Dicey, the house mammy. 
Beverly Bonfoey, the young heir. 

4udge Pennymint, his uncle. 
Laoul Chaudet, a visitor from Quebec. 
Cameo Cl.emm, from the city. 
Unker Shad, a bit of old mahogany . 

Beaux and Belles of Dixie. 

SYNOPSIS OF SCENES 

Act I. The drawing-room of the Bonfoey Plantation in 1849. 
The letter. * 
Act II. The dinner party. The duel. 
Act III. An April morning, three years later. The return. 

THE ORIGINAL TWO BITS 

A Farce in Two Acts 

By Hazel M. Robinson 

iVrilten for and presented by The Invaders Club of the United 

Baptist Church of Lewis ton, Maine 

Seven females. Scene, an interior. Plays twenty minutes. The girls 
in camp receive a visit from a neighbor and have to borrow the neighbor's 
own dinner in order to feed them. They almost get away with it — not 
quite. Irish comedy character, eccentric aunt, rest straight. 

Price, 23 cents 



Hat ton Hall School. 



CAMP FIDELITY GIRLS 

A Comedy in Four Acts 

By Edith Lowell 

Dramatized by permission from the well-known story by 

Annie Hamilton Don tie 11 

One male, eleven females. Scenery, two interiors. Plays two hours. 
A jolly party of girls occupy an old farmhouse for the summer and there 
discover a secret that makes for the happiness and prosperity of a poor 
little cripple. A very " human " piece full of brightness and cheer and 
with a great variety of good parts. 

Price, 33 cents 

CHARACTERS 
Barbara Wetherell ) 

Judy Wetherell, her sister . , 4 . 

JESSICA THAYEft vjt^L 

Mary Shepherd, otherwise Plain Mary 
Edna Hull 
Mrs. Tucker, a next-door neighbor, 
Johnnie Tucker, known as Johnnie-Son. 
Barnaby Campbell, a big child. 
Jennie Brett, a country girl. 
Cousin Salome. 
Aunt Elizabeth. 
Uncle Jeff. 

SYNOPSIS OF SCENES 

Act I. Room at Hatton Hall School. 

Act II. Scene I. Camp Fidelity. Afternoon. Scene II. The 
next morning. 

Act III. Scene L Same. Two weeks later. Scene II. Midnight. 

Act IV. Scene I. Same. Six weens later. Scene II. A half 
hour later. 

MARRYING MONEY 

A Play in One Act 

By Alice L. Tildesley 

Four females. Scene, an interior. Plays half an hour. The girls seek 

a job with the millionaire's mother and one of them gets one for life with 

the millionaire. One eccentric character and three straight. 

Price, 25 cents 

THE OVER-ALLS CLUB 
A Farce in One Act 
By Helen Sherman Griffith 
Ten females. Scene, an interior. Plays half an hour. The " Over- 
Alls Club" meets for the first time in its denim costume with enthusiasm 
for economy that only lasts until young Dr. Ellery is announced. Finishes 
in pretty gowns. 

Price, 23 cents 



r t^t •«**■• tAk- -m^t tAt A A A 3*m Jfc •»»- ^b A aim ■»■ -d^ jrfW' -JOKJW fc LJt fl li ail caOm 

Plays for Junior High Schools 

Salty Luna 

Mr. Bob 

The Man from Brandos 

A Box of Monkeys 

A Rice Pudding 

Class Day 

Chums 

An Easy Mark 

Pa's New Housekeeper 

Not On the Program 

The Cool Collegians 

The Elopement o! Ellen 

Tommy's Wife 

Johnny's New Suit 

Thirty Minutes for Refreshment? 

West of Omaha 

The Flying Wedge 

My Brother's Keeper 

The Private Tutor 

Me an' Otis 

Up to Freddie 

My Cousin Timmy 

Aunt Abigail and the Uoyf 

Caught Out 

Constantine Pueblo Jotoca 

The Cricket On the Hearth 

The Deacon's Second Wife 

Five Fe^t of Love 

The Hurdy Gurdy Girl 

Camp Fidelity Girls 

Carroty Nell 

A Case for Sherlock Holmes 

The Clancey Kids 

The Happy Day 

I Grant You Three Wishes 

Just a Little Mistake 

The Land of Night 

Local and Long Distance 

The Original Two Bits 

An Outsider 

Oysters 

A Pan of Fudge 

A Peck of Trouble 

A Precious Pickle 

The First National Boot 

His Father's Son 

The Turn In the Road 

A Half Back's Interference 

The Revolving Wedge 

Mose 

BAKER, Hamilton Place, Boston, Mass* 



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7 tmaht Tine 


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Camp Fidelity Girls 




II 


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S Anita's Trial 




II 


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J The Farmerette 




7 


2 " 


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Behind the Scenes 




12 


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35 c 


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5 The Camp Fire Girls 




15 


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35 c 


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J A Case for Sherlock Holmes 




10 


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35 c 


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The House in Laurel Lane 




6 


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25 c 


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1 Her First Assignment 




10 


1 " 


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J I Grant You Three Wishes 




14 


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4 


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35c $5.00 




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4 The Original Two Bits 




7 


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10 


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1 Leave it to Polly 




11 


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35 c 


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£ The Rev. Peter Brice, Bachelor 




7 


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j Miss Fearless & Co. 




10 


2 « 


35 c 


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S A Modern Cinderella 




16 


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i Theodore, Jr. 




7 


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Rebecca's Triumph 




16 


2 " 


35c 






1 Aboard a Slow Train in Mlzzoury 


8 


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35 c 






i Twelve Old Maids 




15 


I " 


25c 






1 An Awkward Squad 


8 




% " 


25c 






1 The Blow Up of Algernon Blow 


8 




% " 


25c 






i The Doy Scouts 


20 




2 « 


35 c 






A Close Shave 


6 




l A " 


25c 






1 The First National Boot 


7 


2 


1 « 


25c 






i A Half* Back's Interference 


IO 




% " 


25c 






2 His Father's Son 


14 




1% « 


35 c 






<J The Man With the Nose 


8 




% " 


25c 






4 On the Quiet 


12 




*}£ v 


35 c 






The People's Money 


II 




1% •• 


25c 






1 A Regular Rah ! Rah ! Boy 


14 




\% « 


35c 






i A Regular Scream 


II 




\% « 


35c 






Schmerccase in School 


9 




1 «« 


25c 






i The Scoutmaster 


IO 




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35C 






I The Tramps' Convention 


*7 




*& M 


25c 






The Turn in the Road 


9 




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25c 






5 Wanted— a Pitcher 


ii 




% " 


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i What They Did for Jenkins 


14 




2 u 


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25c 


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j Aunt Jerusha's Quilting Party 


4 


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5 The District School at Blueberry 












i Corners 


12 


17 


1 " 


25c 


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The Emigrants' Party 


24 


10 


1 " 


25c 




i Miss Prim's Kindergarten 
i A Pageant of History . 
The Revel of the Year 


10 

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35c 
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^^^ 


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tt 


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i Taking the Census in Bingville 


14 


8 


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j The Village Post-Office 


22 


20 


2 " 


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t O'Keefe's Circuit 


12 


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BAKER, Hamilton Place, Boston, 
^ VVVVV w W - 


Mass. 


03 === 


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